RhoDeo 1451 A New Hope 102

Hello, the shortest day of the year, at least in the northern hemisphere where most humans live. A day to stay in bed or..do some shopping

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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Produced by National Public Radio, with the cooperation of Lucasfilm, Ltd.

When this series was first broadcast on National Public Radio in 1981, it generated the largest response in the network's history: 50,000 letters and phone calls in a single week, an audience of 750,000 per episode, and a subsequent 40-percent jump in NPR listenership.

This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. Director John Madden guided a splendid cast—including Mark Hamill and Anthony Daniels, reprising their film roles as Luke Skywalker and the persnickety robot See Threepio—through an intense 10 day dialogue recording session. Then came months of painstaking work for virtuoso sound engineer Tom Voegeli, whose brilliant blending of the actors' voices, the music, and hundreds of sound effects takes this intergalactic adventure into a realm of imagination that is beyond the reach of cinema.

By expanding the movie's story beyond its two hour running time, the Radio Drama allows us to catch glimpses of Luke Skywalker's life BEFORE the movie. It tells us how Princess Leia acquired the Death Star plans....and what, exactly, happened to her during her interrogation aboard the Empire's battle station...(it is an interesting scene, but not for the squeamish, by the way). In short, by expanding the story to nearly seven hours, characters we loved on screen acquire depth only equaled by novelizations.

The Radio Drama makes extensive use of material written (and in some cases filmed) for A New Hope's silver screen version but cut for editorial or technical reasons. Also, Ben Burtt's sound effects, John Williams' score, and the acting of Mark Hamill (Luke Skywalker) and Anthony Daniels (See Threepio) give the whole project its "true" Star Wars cachet.

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Many of the actors involved in the movie were unavailable to reprise their roles. Mark Hamill and Anthony Daniels returned to reprise their roles as Luke Skywalker and C-3PO respectively. Recorded in 1981 at Westlake Recording Studios in West Hollywood, California.

With among others:
    Mark Hamill as Luke Skywalker
    Ann Sachs as Princess Leia Organa
    Perry King as Han Solo
    Bernard Behrens as Obi-Wan Kenobi
    Brock Peters as Lord Darth Vader
    Anthony Daniels as C-3PO
    Keene Curtis as Grand Moff Tarkin
    John Considine as Lord Tion
    Stephen Elliott as Prestor – more widely known as Bail Organa
    David Ackroyd as Captain Antilles



A New Hope 102 Points of Origin (mp3 25mb)

102 Points of Origin 27:43


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previously

A New Hope 101 A Wind to Shake the Stars (mp3 25mb)

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Sundaze 1451

Hello, just a few days and the buy,buy,buy eat, eat, eat Xmas terror is over once again. Meanwhile in Syria terror of a different kind is rampant it seems that for some killing other humans is like a scoring in a videogame and there's just no way to stop that game until all players are dead. Now how come the players don't understand this...


Born in 1950, Mantra had been creating meditative ambient and drone music—soundscapes designed for "brain hemisphere synchronization," the release of the brain's own mood-relaxing endorphins—for decades. Among his efforts along the way were a series of albums on Silentes, along with a few collaborations with Rod Modell, today for the final time and somewhat accidentally extended to 4 albums an epitaph of sorts, so do yourself a favor and ......N'joy

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Once again an artist with surprisingly limeted availble info on his life and work, despite releasing 19 albums, most were'nt even aware that Michael Mantra was a moniker, he's real name was Michael J. Stoffan and besides making music he was an animator as well. Some of his work can be viewed and heared at the Library & Study Center in Culver City, CA. I use the past tense here because earlier this year Michael died, age 64 of cancer, completely broke (Obamacare came too late for him). A sad end to a life during which he tried to enhance all our lives, Michael rests in peace..

Michael Mantra creates ambient music. More than that, he creates tools for "brain hemisphere synchronization" (after synchronizing the mind and the body, Mantra's work claims to release endorphins - part of the human body's natural pharmacy which work at the level of opiates). Mixing modulating high and low harmonic tones (low deep drones and high resonating harmonics) with didgeridoo, ocean waves, rain, water, birds and other natural sounds and instruments, create sound structures that "induce a meditative state that synchronizes brain wave frequencies" or, more simply put by Mantra himself, create "Brain Hemisphere Harmonic Healing". He creates a perfect ambient soundscape for the ultimate relaxation trip.

Michael has been active since the early 90s, Bell Born 1987,  Michael Mantra and John Now - Sonic Transform ‎91, Sonic Satori ‎92 and Sonic Journey in 1994, cassette releases all self released through Tranquil Technology Music these preceeded his vinyl/cd career. Since he released many full-lenght albums on Silent, Hypnos and Silentes. He has also collaborated with Rod Modell on the seminal “Sonic Continuum” and “Radio Fore“, and also with Charlz de la Casa. According to Michael’s own words, “F/C” is an almost minimal atmospheric ambient drone core music but not as minimal as the “A/B” album. With stereo headphones this music is a tool for leveraging a change in states of consciousness and states of feeling. You can use this music as isolationist music. You can use this music in a city to filter out the Industrial Death Drone that consumes the souls of humanity. “F/C” evaporates the Veil of Illusion but with layers and layers of soft noise. If you live in the country you can use this music to trigger a journey to another land within. When I listen to this album I feel I am glad to be alive listening to this music. This album is dedicated to world peace for of all sentient beings.”

Mantra attempts to create sound structures that "induce a meditative state that synchronizes brain wave frequencies" or, more simply put by Mantra himself, create "Brain Hemisphere Harmonic Healing". From the early cassette only releases "Sonic Transform" with John Now and "Sonic Satori" to the CD release on Silent "Sonic Alter" and the brilliant follow-up "Sonic Continuum" with Silent Records contributor Rod Modell, Mantra strives to keep the Ambient "ethic" of the early 90's "chill out" vibe alive.

One of Mantra's last music releases was Mountain/Stream, also known as D/A, a two-track album issued on Silent Season in May 2013 and accompanied by eight versions from artists like Sonitus Eco, Djorvin Clain and STL's Lunatik Sound System. In his memory, the label has now made the album and its versions freely available for download—you can find it over at the Silent Season bandcamp page.

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"A/B is an album of ultra minimal atmospheric ambient drone-core. The sonic progressions change ever so slowly over time that is standing still and frozen in the moment. A/B is an excursion into dark ambience searching for substance and meaning in a world devoid of reason and compassion. Listening to A/B with stereo headphones provides isolation from a world out of balance. A/B is a temporary shelter from the abuse of conspicuous consumerism of modern culture. A/B is all about a reduction to the basic elements; nothing more, nothing less. A/B is dedicated to world peace for all sentient beings."

Michael Mantra - A/B  (flac  214mb)

01 A M 30:09
02 B Below 39:55

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With D#m / Gm Michael Mantra brings us an album of slowly shifting ambient ice flows. The music is minimal and atmospheric, dronecore of a most highly developed calibre, an album of extended ambient listening of sonic icebergs, slowly shifting over time. It is based in ultra minimal atmospheric dronecor - an exploration into the dark unknown of sombre sonic states, of the mysterious unknown, leveraging changes in states of feeling and states of consciousness.

Michael Mantra - D#m / Gm (flac  207mb)

01 D#m 40:18
02 Gm 32:35


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Evocative and crepuscular atmospheres, tenuous sounds from the inks color pastel, minimalistic melodies acclimatized on background of "discreet" but wrapping field recordings. Evoked and surrealistic soft sonorous landscapes with warm synthetic sounds, mixed to crystalline natural noises, concrete sounds, breaths. A fascinating classic and quiet album of ambient music, to work of one of the greatest and "historical" masters of the sort.

Michael Mantra - Mobius Logic (flac 308mb)

01 There Not 11:44
02 Nand Not 17:47
03 Or Nor 13:35
04 X-Or 9:05
05 Not Gate 22:53

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“A.L.B.E. is the acronym of “Ambient liquid bass experience,” because the sub frequencies Michael creates are used to stimulate the human brain in helping to reach a state of deep relaxation. Musically we have different layers of fluctuating melodic bass lines that, like sea waves, create a cyclic effect. Everything on A.L.B.E. is reduced to the essential, and the structure is the result of Mantra’s interest in Taoist principles applied to modern technology and musical expression.”

Four long and suggestive tracks, to be listened at low volume relaxing in the half-light, just like a discreet and refined sonic background, or at an higher volume for a “full immersion” into warm and wrapping electronic soundwaves, to the discovery of intriguing and evocative sonic landscapes…” Soft and dilated ambient atmospheres, minimal sonorities, floating electronic carpets, a fascinating album in the typical and unmistakable Michael Mantra style

Michael Mantra - A.L.B.E.  (flac 209mb)

01 Love Squared 13:27
02 Infinite CIrcle 15:21
03 Triangle Oasis 24:00
04 Distant Close 12:25

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RhoDeo 1450 Grooves

Hello, well today's artists' discography should have been much larger but being black and gay in the sixties....well no need to spell that out.  Meanwhile in our more enlightened times murder and mayhem continues, from an alien perspective we are an insane species better left to their road to selfdestruction...

Today's artist was gay, and several music writers have said that his homosexuality was a bar to greater success in the United States and one of the reasons behind his move to Europe and his eventual name change. In 2014, rock historian Ed Ward wrote, "Conley headed to Amsterdam and changed his name to Lee Roberts. Nobody knew 'Lee Roberts,' and at last Conley was able to live in peace with a secret he had hidden--or thought he had--for his entire career: he was gay. But nobody in Holland cared" His music recording career had been limited most of which is here to  .....N'joy

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Arthur Conley sang and (with mentor Otis Redding) co-wrote the 1967 classic "Sweet Soul Music," arguably the finest record ever made about the genre it celebrates. Born January 4, 1946, in McIntosh, GA, and raised in Atlanta, Conley was just 12 years old when he joined the Evening Smiles, a gospel group that appeared regularly on local radio station WAOK. By 1963 he was leading his own R&B outfit, Arthur & the Corvets, which over the next two years issued three singles -- "Poor Girl," "I Believe," and "Flossie Mae" -- for the Atlanta label National Recording Company. Despite Conley's graceful yet powerful vocals (which owed an immense debt to his idol, Sam Cooke), the NRC singles earned little attention, and he dissolved the group to mount a solo career, releasing "I'm a Lonely Stranger" on the Ru-Jac label in late 1964. Label owner Rufus Mitchell then passed a copy of the single to soul shouter Redding, who was so impressed he invited Conley to re-record the song at Memphis' Stax Studios. With Jim Stewart assuming production duties, the recut "I'm a Stranger" hit retail in the fall of 1965, and was just the second single to appear on Redding's fledgling Jotis imprint. Conley's "Who's Foolin' Who" followed in early 1966, and proved the fourth and final Jotis effort.

At Redding's urging, Conley signed to Atco-distributed Fame Records for his next single, the Dan Penn-written "I Can't Stop (No, No, No)." Though his strongest, most incendiary record to date, it met the same commercial indifference that greeted his previous efforts. Likewise, the follow-up "Take Me (Just as I Am)" fell on deaf ears, even though the song was a major pop hit for Solomon Burke the following year. At that point Redding took an even greater role in Conley's career, encouraging his songwriting and advising him in business decisions; while jamming on a cover of Cooke's "Yeah Man," the pair began tinkering with the original song, creating what would ultimately become "Sweet Soul Music." An electrifying tribute to the Southern soul idiom that name-checked icons including James Brown, Sam & Dave, Wilson Pickett, and -- at Conley's insistence -- Redding himself, the resulting single (Conley's debut for new label Atco) proved a massive hit, reaching number two on both the Billboard pop and R&B charts while reaching the Top Ten across much of Europe. An LP also titled Sweet Soul Music soon followed, compiling the singer's little-heard Jotis and Fame sides. Conley's next single, a reading of the Big Joe Turner chestnut "Shake, Rattle and Roll," returned him to the pop Top 40 and the R&B Top 20, although its follow-up, a cover of Cooke's "Whole Lotta Woman," reached only number 73 on the pop chart.

Conley was performing in Florida the night of December 10, 1967, when Redding and members of his backing band the Bar-Kays were killed in a Wisconsin plane crash; without Redding to run interference with Atco executives, the singer's career threatened to revert back to its rudderless beginnings, but in early 1968 Conley righted the ship, traveling to Memphis' American Recording Studios to collaborate with the crack producer Tom Dowd. The session generated some of the singer's finest material, including the Top 20 R&B hit "People Sure Act Funny," "Run On," and the stirring Redding tribute "Otis Sleep On." Best of all was the scorching "Funky Street," which hit number five on the Billboard R&B chart and number 14 on its pop counterpart. Weeks later Conley teamed with Burke, Don Covay, Ben E. King, and Joe Tex as the Soul Clan, recording the all-star LP Soul Meeting; he then embarked on a month-long tour of Europe, returning to American to cut the Dowd-produced "Aunt Dora's Love Soul Shack," a minor hit that was reportedly the inspiration for the Temptations' smash "Psychedelic Shack." Conley closed out the year by recording a cover of the Beatles' "Ob-La-Di, Ob-La-Da." Featuring the great Duane Allman on guitar, the single reached number 51 pop and number 41 R&B in early 1969.

 After one final outing with Dowd, the Allen Toussaint-penned "Star Review" -- a naked and failed attempt to recapture the brilliance of "Sweet Soul Music" -- Conley signed on with producer Johnny Sandlin, returning to the R&B Top 40 in early 1970 with "God Bless." His final Atco disc, an ill-advised rendition of Harry Belafonte's perennial "Day-O," foreshadowed the poor choices that characterized his subsequent tenure with manager Phil Walden's Capricorn label. Between 1971 and 1974, Conley released only four singles ("I'm Living Good," "Walking on Eggs," "Rita," and "It's So Nice [When It's Someone Else's Wife]"), all of them substandard and none of them hits. In 1975 he relocated to England, spending several years in Belgium before settling in the Netherlands in 1980. There he legally changed his name to Lee Roberts (the first name his own middle name, the surname his mother's maiden name). A live date recorded in Amsterdam on January 6, 1980, was issued commercially in 1988 under the title Soulin' and credited to Lee Roberts & the Sweaters. In the years to follow he emerged as a successful entrepreneur. At one point in time his Art-Con Productions consisted of some nine companies, among them Sweat Records, Upcoming Artists Records, Charity Records, Happy Jack Publishing, and the New Age Culture Exchange radio station. After a long bout with cancer, Conley died in the Dutch city of Ruurlo on November 17, 2003.

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The songs here are basically a mixture written by Conley, Otis Redding, Sam Cooke, Dan Penn, and Jimmy Reed. The arrangements are straight out of that whole Muscle Shoals/Fame Studios sound , and have that well known instrumental sound. I could talk about highlights, but that would encompass just about the entirety of both albums. Conley had a voice and style of singing that put him in the same league as the above singers--he was that good. He's probably most well known for the hit "Sweet Soul Music", or possibly his remake of "Shake, Rattle & Roll" (both here), but his versions of other artists' songs are equally strong. Check out Conley's version of Redding's "I've Been Loving You Too Long (To Stop Now)", or Cooke's "A Change Is Gonna Come" for great examples of Conley's style. And Conley's own songs fit in well--providing a seamless blend of familiar songs and his own efforts.

So, if you like Otis Redding and the rest, and you're unfamiliar with Arthur Conley, do yourself a favor and give this collection a listen. It's the real deal, and will brighten your day as only late 60's hard soul can do. 54 minutes of quintessential 60's soul--nothing more and nothing less.

Arthur Conley - Sweet Soul Music / Shake, Rattle & Roll (flac 272mb)

Sweet Soul Music

01 Sweet Soul Music 2:20
02 Take Me (Just As I Am) 2:58
03 Who's Foolin' Who 2:28
04 There's A Place For Us 2:45
05 I Can't Stop (No, No, No) 2:25
06 Wholesale Love 2:16
07 I'm A Lonely Stranger 2:45
08 I'm Gonna Forget About You 2:10
09 Let Nothing Separate Us 3:04
10 Where You Lead Me 2:25

Shake, Rattle & Roll

11 Shake, Rattle & Roll 2:17
12 I've Been Loving You Too Long (To Stop Now) 3:17
13 Love Got Me 2:20
14 A Change Is Gonna Come 3:14
15 Hand And Glove 2:30
16 Ha! Ha! Ha! 2:20
17 You Don't Have To See Me 2:54
18 Baby What You Want Me To Do 3:00
19 I'll Take The Blame 2:50
20 Keep On Talking 2:38

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Months after his tragic and untimely passing, Otis Redding remained a primary source of inspiration to the career of vocalist Arthur Conley. Soul Directions -- which was issued during the late spring of 1968 -- was the artist's third long-player, and while the bulk of the ten-track effort was produced by the legendary Tom Dowd, it is highlighted by two of the last tunes that Redding worked on with Conley, albeit behind the scenes. All the more profound is the gospel-tinged centerpiece, a touching paean simply titled "Otis Sleep On." Although Conley had formidable success recording at Fame in Muscle Shoals, AL, and Stax Records, it was the latter's rival -- the Memphis-based American Studios -- where the project primarily came together. The team of Spooner Oldham and Dan Penn provide the midtempo opener, "You Really Know How to Hurt a Guy," and the soul-stirring "This Love of Mine." Conley supplies half the disc's material, including the happy, hand-clappin' "Funky Street" -- inspired by the true-to-life urban Soulsville on Atlanta, GA's own Auburn Avenue -- which became a Top Five R&B hit. He is likewise credited alongside Dowd on the recommended ballad waltz "Burning Fire." Perhaps because Redding was testing out his chops as a producer, his indomitable spirit remains alive and kicking on the upbeat "Hear Say" -- which needs little help getting the groove off the ground, especially the piquant as ever Memphis horn arrangement. Redding's trademark pleading delivery style permeates the gritty reading of Otis' co-written "Love Comes and Goes." Conley's "Put Our Love Together" stands out for its alternately organic backing choir and the muted nylon-string acoustic guitar that dominates the supporting instrumentation. The fun and funky closer, "People Sure Act Funny," made it into the Top 20 on the R&B singles survey. Here it bears more than just a trace of Joe Tex's influence, even as it had actually been recorded by the likes of Lee Dorsey and Shorty Long. Despite the uniformly strong selection, the album made no pop crossover impact. While it fared a bit better than its predecessor, Shake, Rattle & Roll (1967), Soul Directions would become Conley's final pop LP entry.

Arthur Conley - Soul Directions (flac 159mb)

01 You Really Know How To Hurt A Guy 2:35
02 Funky Street 2:25
03 Burning Fire 2:20
04 Get Yourself Another Fool 3:00
05 Otis Sleep On 2:45
06 Hear Say 2:19
07 This Love OF Mine 3:23
08 Love Comes And Goes 2:19
09 Put Your Love Together 2:56
10 People Sure Act Funny 2:10

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Despite scoring only one national hit, the 1961 instrumental smash "Last Night," the Mar-Keys remain one of the most important groups ever to emerge from the Memphis music scene. As the first house band for the legendary Stax label, they appeared on some of the greatest records in soul history, with their ranks also producing such renowned musicians as guitarist Steve Cropper and bassist Donald "Duck" Dunn. the Mar-Keys formed in 1958 and included drummer Terry Johnson, pianist Jerry Lee "Smoochie" Smith, saxophonists Don Nix and Charles Axton, and trumpeter Wayne Jackson in addition to Cropper and Dunn. Originally dubbed the Royal Spades, in 1960 the group joined the staff at Axton's mother Estelle's Satellite label, backing artists that included Rufus Thomas and his daughter Carla. A year later, the Mar-Keys headlined the Chips Moman-penned "Last Night," which reached the number three spot in the summer of 1961. When Satellite changed its name to Stax, the Mar-Keys remained on board, laying the foundation for the classic Memphis soul sound through with their funky, sophisticated grooves; concurrently they recorded a series of singles including "Pop-Eye Stroll," "The Morning After," and "Philly Dog," although none repeated the commercial success of "Last Night." In 1962 Cropper and Dunn left the lineup to co-found the famed Booker T. and the MG's. Other personnel changes followed, although the Mar-Keys continued on for several more years before the name was eventually dropped. Jackson then formed another top-notch session group, the Memphis Horns, while Axton led the Packers

This combines the Mar-Keys' first two albums, Last Night! and Do the Pop-Eye (both from 1962), onto one CD, with nine pages of historical liner notes by Stax authority Rob Bowman. "Last Night" was a great early-'60s instrumental rock hit, and an important one in helping to establish the basic sound of Stax soul music. It's the linchpin of the Last Night! album, and despite the single's greatness, the LP is a mediocre, filler-filled effort that typifies the low standards of the full-length rock recording at the time. These are basic sax- and organ-driven soul-rock dance instrumentals, good for dancing to in the live shows the Mar-Keys were doing, but pretty boring one after another on record. Only a few of these are group originals; the rest of the cuts including covers of jazz tunes (Cannonball Adderley's "Sack o' Woe"), popular standards ("Misty," "Ebb Tide"), classic R&B ("Sticks and Stones"), and even Paul Anka's "Diana." Do the Pop-Eye was much like Last Night!: functional, simple early-'60s soul-rock instrumentals, prominently featuring sax and organ, and easy to dance to. And like Last Night!, it was unimaginative and dull to listen to all together, with the disadvantage of lacking a single as good as the classic "Last Night," though it was a little funkier in its song selection and execution. The bouncy "Pop-Eye Stroll" had been a very small hit (making number 94), and probably for that reason there were a couple of knockoffs elsewhere on the LP, "Pop-Eye Rider" and "Too Pooped to Pop-Eye." Historically, this is an important record, only because three of the musicians to play in Booker T. & the MG's -- Steve Cropper, Booker T. Jones, and Duck Dunn -- play on it (Cropper and Jones also wrote a bit of the material). You can hear antecedents to the Booker T. & the MG's sound on some of the better cuts, like "Straight From the Can" and "Sit Still," which has some stinging Cropper licks; Rufus Thomas wrote one of the other tracks, "'Cause I Love You." The liner notes, by the way, are pretty fascinating, particularly in the several anecdotes about Stax's early days and the complicated genesis of "Last Night": more interesting, in fact, than (with the exception of the track "Last Night") the music on this disc.

The Mar-Keys - Last Night and Do The Pop Eye (flac 376mb)

Last Night
01 Morning After 2:12
02 Diana 1:56
03 Alright, O.K. You Win 2:54
04 Sticks & Stones 1:57
05 Misty 2:31
06 Night Before 2:10
07 About Noon 2:31
08 One Degree North 2:13
09 Sack O Woe 2:25
10 Hold It 2:03
11 Ebb Tide 3:40
12 Last Night 2:35
Do The Pop Eye
13 Pop-Eye Stroll 2:40
14 Wimp-Burger 2:30
15 Straight From The Can 2:00
16 Cause I Love You 2:36
17 Squint-Eye 2:00
18 Pop-Eye Rider 2:22
19 Gonna Work Out Fine 2:32
20 Sit Still 2:08
21 Too Pooped To Pop-Eye 2:31
22 Sweet-P Crawl 2:04
23 Muscles A-Comin' Home 2:20
24 Sailor Man Waltz 2:42

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RhoDeo 1450 Goldy Rhox 188

Hello, today the 188th post of GoldyRhox, classic pop rock in the darklight an English rock guitarist. He is one of the three noted guitarists to have played with The Yardbirds (the other two being Eric Clapton and Jimmy Page). Much of today's artist recorded output has been instrumental, with a focus on innovative sound, and his releases have spanned genres ranging from blues rock, heavy metal, jazz fusion and an additional blend of guitar-rock and electronica. Although he recorded two hit albums (in 1975 and 1976) as a solo act, he has not established or maintained the sustained commercial success of many of his contemporaries and bandmates. Our man appears on albums by Mick Jagger, Tina Turner, Morrissey, Jon Bon Jovi, Malcolm McLaren, Kate Bush, Roger Waters, Donovan, Stevie Wonder, Les Paul, Zucchero, Cyndi Lauper, Brian May, Stanley Clarke and ZZ Top.

He was ranked 5th in Rolling Stone's list of the "100 Greatest Guitarists of All Time" and the magazine, upon whose cover our man has appeared three times, has described him as "one of the most influential lead guitarists in rock". MSNBC has called him a "guitarist's guitarist today's mystery man has earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times and Best Pop Instrumental Performance once. In 2014 he received the British Academy's Ivor Novello Award for Outstanding Contribution to British Music. Mystery man has been inducted into the Rock and Roll Hall of Fame twice: as a member of the Yardbirds (1992) and as a solo artist (2009).

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album is the debut album by the Mystery Man's Group, released in 1968 in the United Kingdom on Columbia Records and in the United States on Epic Records. It introduced the talents of Rod Stewart and Ronnie Wood to a larger audience, and peaked at number 15 on the Billboard 200. Recording sessions for the album took place over four days, 14–15 May and 25–26 May 1968. Nine eclectic tracks were taken from these sessions, including covers of "Ol' Man River" by Jerome Kern, the Tudor period melody "Greensleeves", and Bonnie Dobson's "Morning Dew", a 1966 hit single for Tim Rose. Mystery man acknowledged two giants of Chicago blues in songs by Willie Dixon — Muddy Waters' "You Shook Me" and Howlin' Wolf's "I Ain't Superstitious". The album started with a song from our man's old band, "Shapes of Things". Three originals were credited to "Jeffrey Rod", a pseudonym for mystery man and Stewart, all reworkings of previous blues songs: "Let Me Love You" the song of the same title by Buddy Guy; "Rock My Plimsoul" from "Rock Me Baby" by B.B. King; and "Blues Deluxe" similar to another song by B.B. King, "Gambler's Blues". "Plimsoul" had already been recorded for the B-side to the 1967 single "Tallyman", and the tenth track, an instrumental featuring Jimmy Page, John Paul Jones, Keith Moon, and future mystery man's group pianist Nicky Hopkins, "Bolero", had been edited and remixed for stereo from the earlier B-side to "Hi Ho Silver Lining". Due to contractual conflicts, Moon had been credited on the original album as "You Know Who".

On 10 October 2006, Legacy Records remastered and reissued the album for compact disc with eight bonus tracks. Included were two earlier takes of "You Shook Me" and "Blues Deluxe", the latter without the overdubbed applause. The B-side to the 1968 single "Love Is Blue", "I've Been Drinking", was another "Jeffrey Rod" special, this time reconfiguring the Johnny Mercer song "Drinking Again", finishing with Hi Ho Silver Lining, it's up for grabs here


Goldy Rhox 188 (flac 401mb)


Goldy Rhox 188 (ogg 94mb)

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RhoDeo 1450 Aetix

Hello, why is it that people that adhere to ancient religions think it's permitted to use modern weapons ? Allah says yes after all he hates humans, its time his slave religion produces more death and today's 130 kids sure gets the killers some bonus points in Allah's corner but hey not with the Allmighty and no that's not Yahweh because that's just another name of Allah why ? because both are blood lusting psychopathic assholes, defacto demons but hey primitive peoples feared and thus worshiped them, its high time they were put out by the trash where they belong. Unfortunately there's still too many feeble-minded people to prohibit organized religion and render every priest on the planet unemployed, the world would be so much better of....

Today in Aetix an American rock band from San Francisco, California, formed in 1981. The band was originally named Faith No Man. Billy Gould, Roddy Bottum and Mike Bordin are the longest remaining members of the band, having been involved with Faith No More since its inception. The band underwent several lineup changes early in their career, along with some major changes later on. After releasing six albums, Faith No More officially announced their breakup on April 20, 1998. As the moneywell dried up, they have since reunited, embarking on The Second Coming Tour from 2009-2012. On September 2, 2014, bassist Bill Gould announced that Faith No More has been working on a new album, which is set for release in April, 2015. Meanwhile here today the basis of their success .....N'Joy

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Faith No More was originally formed as Sharp Young Men in 1979 by bassist Billy Gould, drummer Mike Bordin, vocalist Mike "The Man" Morris, and keyboardist Wade Worthington. Mike Morris described the name as "a piss-take on all the ‘elegant’ 80s groups at the time." Later on Morris proposed the name Faith In No Man but eventually the band settled on Bordin's suggestion Faith No Man (stylized as Faith. No Man). They recorded "Quiet in Heaven/Song of Liberty", released in 1982. The songs were recorded in Matt Wallace's parent's garage, where Wallace had set up and been running a recording studio while the band was still recording under the name Sharp Young Men, with Mike Morris, Billy Gould, Mike Bordin and Wade Worthington. Worthington left shortly thereafter. They changed their name to Faith No Man for the release of the single, which featured two of the three songs recorded in Wallace's garage, and hired Roddy Bottum to replace Worthington. Bottum, Gould and Bordin quit the band shortly after and formed Faith No More. They chose the name to accentuate the fact that "The Man" (Mike Morris) was "No More". They didn't have any constant guitarists or vocalists until they eventually settled on Chuck Mosley in 1983 and later Jim Martin

After the name change, the band initially started recording We Care a Lot without backing from a record label and, after pooling their money, recorded five songs. This gained the attention of Ruth Schwartz, who was then forming the independent label Mordam Records, under which the band, after getting the necessary financial support, finished and released the album. It was the first official release for both the band and the label. Introduce Yourself was released in 1987, and a revamped version of their debut album's title track "We Care a Lot" saw minor success on MTV. Mosley was fired in 1988 due to his erratic behavior during sessions and at shows, notably the release party for the album Introduce Yourself during which he fell asleep on stage.

With their fusion of heavy metal, funk, hip-hop, and progressive rock, Faith No More has earned a substantial cult following. By the time they recorded their first album in 1985, the band had already had a string of lead vocalists, including Courtney Love; their debut, We Care a Lot, featured Chuck Mosley's abrasive vocals but was driven by Jim Martin's metallic guitar. Faith No More's next album, 1987's Introduce Yourself, was a more cohesive and impressive effort; for the first time, the rap and metal elements didn't sound like they were fighting each other.

In 1988, the rest of the band fired Mosley; he was replaced by Bay Area vocalist Mike Patton during the recording of their next album, The Real Thing. Patton was a more accomplished vocalist, able to change effortlessly between rapping and singing, as well as adding a considerably more bizarre slant to the lyrics. Besides adding a new vocalist, the band had tightened its attack and the result was the genre-bending hit single "Epic," which established them as a major hard rock act. "Epic" was released in 1989 and was a top 10 hit. The music video for "Epic" received extensive airplay on MTV in 1990, despite anger from animal rights activists for a slow motion shot of a fish flopping out of water. That same year, Faith No More gave memorable performances at the 1990 MTV Video Music Awards (September 6)

"From Out of Nowhere" and "Falling to Pieces" saw releases as singles, and a cover of Black Sabbath's "War Pigs" was also produced for non-vinyl releases. In 1990, the band went on an extensive US tour, sending The Real Thing to Platinum status in Canada, the US, and South America. The album also had big sales numbers in Australia, UK, and the rest of Europe, pushing the total sales well above 4.0 million worldwide.

Following up the hit wasn't as easy, however. Faith No More followed their breakthrough success with 1992's Angel Dust, one of the more complex and simply confounding records ever released by a major label. Although it sold respectably, it didn't have the crossover potential of the first album. When the band toured in support of the album, tensions between the band and Martin began to escalate; rumors that his guitar was stripped from some of the final mixes of Angel Dust began to circulate. As the band was recording its fifth album in early 1994, it was confirmed that Martin had been fired from the band.

Faith No More recorded King for a Day, Fool for a Lifetime with Mr. Bungle guitarist Trey Spruance. During tour preparations he was replaced by Dean Mentia. Mentia only lasted for the length of the King for a Day tour and was replaced by Jon Hudson for 1997's Album of the Year. Upon the conclusion of the album's supporting tour, Faith No More played their last show in Lisbon, Portugal on April 7, 1998. The band cancelled their planned support tour for Aerosmith and on April 20, Billy Gould released a statement by email and fax, saying " The decision among the members is mutual" and "the split will now enable each member to pursue his individual project(s) unhindered." The band "thanked all of those fans and associates that have stuck with and supported the band throughout its history." After the dissolution of Faith No More, the members went on to numerous different projects.

Patton, who had previously fronted Mr. Bungle and had avant-garde projects with John Zorn, formed a new band named Fantômas with Melvins guitarist Buzz Osbourne, Mr. Bungle bassist Trevor Dunn, and former Slayer drummer Dave Lombardo. Roddy Bottum continued with his band Imperial Teen, who released their first album, Seasick, in 1996. A posthumous Faith No More retrospective, Who Cares a Lot, appeared in late 1998.

In 2009, after eleven years of dissolution, Faith No More toured Europe without Jim Martin but with Patton as vocalist. A U.S. tour followed a year later. Up until 2014, Faith No More's status was disputed. In a January 2013 interview, Mike Patton suggested that the band would not remain active beyond the reunion tour, stating that "it's sort of petered out" and the band was "maybe a little too conscious for their own good.
On August 20, the band posted "The Reunion Tour is over; in 2015 things are going to change." On September 2, Bill Gould revealed to Rolling Stone that Faith No More has begun work on a new album, which is set for release in April 2015

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After listening to Faith No More's debut, We Care a Lot, it's hard to believe that this is the same band that we know today. They sound more like early Public Image Limited than the FNM that would eventually assault your senses with Angel Dust and Album of the Year. Obviously, one of the major reasons is because current singer Mike Patton is not on the album. Original frontman Chuck Mosley handles the vocal duties, and his singing style is the complete opposite of Patton's. While Patton is extremely talented and versatile (he can sing just about every style of music imaginable), Mosley's voice is often off-key, fairly monotonous, and colorless (but with lots of attitude). Musically, the group shows glimpses of the killer genre-bending band they would become in the near future. The original version of the title track is an anthem in typical, twisted FNM style: it contains irresistible melodies and riffs, but challenges you lyrically (the words deal with the hypocritical situation surrounding the millionaire musicians who participated in 1985's Live Aid concert). The song is still featured at their concerts, as is the keyboard-laced "As the Worm Turns." Other highlights include the furious instrumental "Pills for Breakfast" and the near-dance track "Arabian Disco." Although most of FNM's important components are present -- airy keyboards, tribal drumming, heavy metal guitar, and sturdy bass -- the big picture is not as focused as it would eventually be. And it becomes more and more evident that the missing piece of the puzzle is Mike Patton.

Faith No More - We Care A Lot  (flac 298mb)

01 We Care A Lot 4:09
02 The Jungle 3:10
03 Mark Bowen 3:33
04 Jim 1:16
05 Why Do You Bother 5:40
06 Greed 3:50
07 Pills For Breakfast 2:59
08 As The Worm Turns 3:11
09 Arabian Disco 3:16
10 New Beginnings 3:46
bonus Faith No Man
A Quiet In Heaven 5:28
B Song Of Liberty 3:53


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On Faith No More's major-label debut, Introduce Yourself, the Faith No More that you've grown to know and love finally rears it's ugly head (much more so than on their 1985 independent release We Care a Lot). All the ingredients are there, but like its predecessor there's one crucial item missing, super-vocalist Mike Patton. This would be original singer Chuck Mosley's last outing with the band, before he was ejected due to erratic and unpredictable behavior. Still, the album is consistent and interesting, with Mosley's out-of-tune vocals being an acquired taste to most. "The Crab Song" is one of their most underrated tracks, which packs quite a wallop when guitarist Jim Martin's heavily saturated guitar kicks in. The title track is an enjoyable and brief rant, and the loopy bass and irresistible melodicism of "Anne's Song" should have been a hit. There's also a slightly updated version of "We Care a Lot" included, and the resulting video gave the band their first taste of MTV success (but nothing compared to what they'd experience with their heavily rotated breakthrough "Epic"). A step in the right direction toward the deliciously twisted sound they'd achieve on later releases.

Faith No More - Introduce Yourself  (flac 277mb)

01 Faster Disco 4:17
02 Anne's Song 4:47
03 Introduce Yourself 1:30
04 Chinese Arythmethic 4:36
05 Death March 2:59
06 We Care A Lot 4:01
07 R N' R 3:11
08 The Crab Song 5:52
09 Blood 3:39
10 Spirit 2:50

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Starting with the careening "From Out of Nowhere," driven by Bottum's doomy, energetic keyboards, Faith No More rebounded excellently on The Real Thing after Mosley's firing. Given that the band had nearly finished recording the music and Patton was a last minute recruit, he adjusts to the proceedings well. His insane, wide-ranging musical interests would have to wait for the next album for their proper integration, but the band already showed enough of that to make it an inspired combination. Bottum, in particular, remains the wild card, coloring Martin's nuclear-strength riffs and the Gould/Bordin rhythm slams with everything from quirky hooks to pristine synth sheen. It's not quite early Brian Eno joins Led Zeppelin and Funkadelic, but it's closer than might be thought, based on the nutty lounge vibes of "Edge of the World" and the Arabic melodies and feedback of "Woodpeckers From Mars." "Falling to Pieces," a fractured anthem with a delicious delivery from Patton, should have been a bigger single that it was, while "Surprise! You're Dead!" and the title track stuff riffs down the listener's throat. The best-known song remains the appropriately titled "Epic," which lives up to its name from the bombastic opening to the concluding piano and the crunching, stomping funk metal in between. The inclusion of a cover of Black Sabbath's "War Pigs" amusingly backfired on the band -- at the time, Sabbath's hipness level was nonexistent, making it a great screw-you to the supposed cutting edge types. However, all the metalheads took the band to their hearts so much that, as a result, the quintet dropped it from their sets to play "Easy" by the Commodores instead!

Faith No More - The Real Thing  (flac 376mb)

01 From Out Of Nowhere 3:20
02 Epic 4:51
03 Falling To Pieces 5:12
04 Surprise! You're Dead! 2:25
05 Zombie Eaters 5:58
06 The Real Thing 8:11
07 Underwater Love 3:49
08 The Morning After 3:41
09 Woodpecker From Mars 5:38
10 War Pigs 7:43
11 Edge Of The World 4:10

Faith No More - The Real Thing  (ogg 129mb)

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RhoDeo 1450 Roots

Hello, well having a morning coffee on the go isn't what it used to be-in Sydney at least a nut case who somehow was left to go about his nutcase business has been stopped by a bunch of police officers, 2 innocent victims payed with their lives from the gross incompetence of Sydney police who had a bad reputation before hand, the gung ho assholes really enjoyed some live target shooting practice...

Some of the most exciting sounds to come out of Africa in the late '80s and 90's were produced by Senegal-born vocalist Youssou N'Dour. Although rooted in the traditional music of his homeland, N'Dour consistently sought new means of expression. In addition to recording as a soloist, N'Dour collaborated with a lengthy list of influential artists....  N'Joy.

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Some of the most exciting sounds to come out of Africa in the late '80s and 1990s were produced by Senegal-born vocalist Youssou N'Dour. Although rooted in the traditional music of his homeland, N'Dour consistently sought new means of expression. In addition to recording as a soloist, N'Dour collaborated with a lengthy list of influential artists including Paul Simon, Peter Gabriel, Neneh Cherry, and Branford Marsalis.

A native of the impoverished Media section of Dakar, N'Dour does not have a school certificate. He was born in a working-class suburb of Dakar, the eldest child of a car mechanic, and began by hustling pirated CDs in car parks. "It's true that I haven't pursued higher education," he admitted, adding: "I have proved my competence, commitment, rigour and efficiency time and time again. I have studied at the school of the world." Despite his father's wish that he pursue law or medicine, N'Dour started singing at circumcision ceremonies before his voice had broken and was professional by the age of 13. With a voice that seemed heaven-sent, he sang in small clubs in Dakar in Wolof, the language of his griot (praise-singing) ancestors, and was rapidly crowned "Le petit prince de Dakar".

N'Dour inherited his musical skills from his mother, a griot (oral historian) who taught him to sing as a child. A seasoned performer before his teens, N'Dour joined the popular group the Star Band de Dakar at the age of 19. Within two years, he had assumed leadership of the group, which he renamed Super E'toile de Dakar. With the band accompanying his four- or five-octave vocals, N'Dour helped to pioneer mbalax, an uptempo blend of African, Caribbean, and pop rhythms. Performing for the first time in Europe in 1984, N'Dour and Super E'toile de Dakar made their North American debut the following year.

N'Dour's talents soon attracted the support of top-rated musicians. In 1986, his vocals were featured on Paul Simon's Graceland and Peter Gabriel's So. He subsequently toured around the world as opening act for Gabriel. His greatest exposure came when he agreed to be a co-headliner, along with Gabriel, Bruce Springsteen, Sting, and Tracy Chapman, on the Amnesty International Human Rights Now! tour in 1988. The same year, he performed at the much-publicized birthday concert for South African activist (and president) Nelson Mandela at Wembley Stadium in London.

N'Dour cemented his reputation in 1989, when he released his first internationally distributed album, The Lion, which included a tune, "Shaking the Tree," that he co-wrote with Gabriel. Upon signing with Spike Lee's Columbia-distributed 40 Acres & a Mule label, N'Dour scored a Grammy nomination in 1991 with his first effort for the label, Eyes Open. He continued to seek new outlets for his creativity, including an African opera that premiered at the Paris Opera in July 1993. Recorded in Senegal, N'Dour's album The Guide, released in 1994, included his hit duet with Swedish-born vocalist Neneh Cherry, "Seven Seconds."

A steady stream of greatest-hits packages, reissues, singles, and even a few full-length records -- including a handful on Nonesuch, 2002's Nothing's in Vain, 2004's Egypt, and 2007's Rokku Mi Rokka -- poured out during the late '90s and into the next century, featuring N'Dour working with artists from Etoile de Dakar to Gabriel. Egypt, which went on to win a Grammy, caused quite a cultural and political stir when it was released during the month of Ramadan. A documentary DVD centered around the whole affair, Youssou N'Dour: I Bring What I Love, appeared early in 2010 and included a biography of N'Dour's career as well as extensive concert footage and film of N'Dour working on the Egypt project.

N'Dours political ambitions have thuisfar been twarted after his application for the 2012 presidential election was deemed insuddicient or signed by to little legal supporters. Sadly like so many failed african state it's current president refuses to leave the "gravy train" office and maneged to block the popular singer-this time, yet had to give way to current president Macky Sall in a direct face off second election..

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Set is N’Dour’s first great solo album for one simple reason: He figured how to integrate synthesizers into mbalax. Typically they hover melodically in the higher registers here, fluctuating tonally between flute and calliope. On “Sabar” he sings in unison with them, on “Medina,” a keyboard bed allows playful saxophone to spring into an upward tumble, and on the title anthem, choppy synths mow though the beat from underneath. Not that the synths carry Set on their own. Ornate horns, frenetic tabas and booming trap drums muscle their way into the mix, while “Xale” makes room for an elegant string quartet. Compact song structures — “Fenene” is the only cut to break the five-minute mark — add to the tumultuous density of the arrangements. But if Étoile de Dakar was an ensemble of competing equals, Super Étoile is a backup band whose disciplined members contribute inspired moments to an overall pattern. The few English lyrics here, such as the exhortation to “try to be strong” on “Miyoko,” might arouse concerns about what uplifting vagueness N’Dour preaches about elsewhere in Wolof; righteous songs like “Toxiques,” which calls upon poor nations to refuse the toxic waste the first world foists upon them, put those fears to rest. The title tune became the anthem of Senegalese youth in 1990.

Youssou N'Dour - Set  (flac  303mb)

01 Set (Clean) 2:45
02 Alboury 4:15
03 Sabar 2:32
04 Toxiques 3:28
05 Sinebar 4:45
06 Medina 3:22
07 Miyoko 3:42
08 Xale (Our Young People) 4:17
09 Fenene (Another Place) 5:17
10 Fakastalu (Watch Your Step) 3:52
11 Hey You! 3:38
12 One Day (Jaam) 3:26
13 Ay Chono La (Love Is) 3:12

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Youssou N'Dour's Egypt is a radical change of pace for the Senegalese singer/songwriter. Throughout his career, N'Dour has adapted his indigenous musical heritage to the pop sounds of world music. On Egypt, N'Dour and his quartet have created rhythmic and melodic arrangements for material from the Arabic world. Joining N'Dour's quartet for this recording is the renowned Fathy Salama Orchestra, a 14-piece traditional music ensemble. The material is traditional Sufi music, and N'Dour has applied, via the score's director, Hassan Khaleel, Senegalese rhythms and folk melodies to exist in concert with the time-honored originals. The effect is nothing less than startling. N'Dour goes deep into the heart of Senegalese Sufism, tracing the lines where terrains, spiritual practices, and of course musical ideas meet, meld, and change. Unlike his previous recordings, the organic and sacred character of this music seems to stand outside of time and space; it wails and warbles, croons and groans. It is the music of joy and reverence and, as it bridges the various aspects of Islamic cultural traditions, one hopes it can create, via the sheer beauty of its sound and the translation of its lyrics, a portrait of a world that is far different from the one portrayed by Western media constructs.Youssou N'Dour won the 2005 Grammy award for Egypt, an album of Sufi Islamic devotional chants recorded with Egypt's 14-strong Fathy Salama Orchestra.

Youssou N'Dour - Egypt  (flac  245mb)

01 Allah 6:10
02 Shukran Bamba 5:30
03 Mahdiyu Laye 4:58
04 Tijaniyya 5:45
05 Baay Niasse 5:18
06 Bamba The Poet 3:51
07 Cheikh Ibra Fall 3:35
08 Touba - Daru Salaam 5:50

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Like his last two releases for Nonesuch, 2002's Nothing's in Vain and 2004's stunning Egypt, Youssou N'Dour's Rokku Mi Rokka (Give and Take) is a glistening, polished work that perpetuates the singer's recurring role as one of Africa's greatest gifts to music. Where Egypt was something of a side trip for N'Dour, a tribute to his Sufi faith, Rokku Mi Rokka takes on more of a mainstream melodic pop sheen, with an eye toward the northern desert country for inspiration. N'Dour, in addition to using his regular musicians, reunites here with members of his early-career Super Etoile de Dakar band as well as other players with whom he's been comfortable for years (gotta love Ali Farka Touré sideman Bassekou Kouyate on the four-stringed n'goni), so the results are familiar and the groove locked in tight. Neneh Cherry, who performed a duet with N'Dour on 1994's hit "7 Seconds," returns for a rap on the album-closing mbalax-funk anthem "Wake Up (It's Africa Calling)," which implores the Western world to stop taking Africa for granted and look to the continent for positive vibrations. The opening track, "4-4-44," is a celebration of 44 years of Senegal's independence, bathed in driving, repetitive keyboard riffs, a persistent rhythmic punch, and a midsong horn blast that provides a sudden Memphis-esque R&B kick. As always, much of N'Dour's songwriting addresses tradition and its role in an Africa struggling toward modernization. There are songs of love and songs of politics and spirit. "Tukki" is little more than a simple paean to the joys of traveling, and "Xel" exhorts humans to do the obvious: use their brains and think. But then there's "Sportif," with its drum lick right out of a New Orleans second-line march, whose sole purpose is to remind countrymen that there's no need to take it personally if a favorite wrestler loses a match -- it's only a sport. Go figure. Nonetheless, Youssou N'Dour is never less than thoughtful and intriguing, and his voice is never less than gripping. Rokku Mi Rokka is another gem from an artist who has come to define the African music renaissance.

Youssou N'Dour - Rokku Mi Rokka (Give And Take)  (flac  496mb)

01 4-4-44 3:38
02 Pullo Ãrdo 4:00
03 Sama Gàmmu 3:58
04 Bàjjan 4:06
05 Baay Faal 4:47
06 Sportif 3:26
07 Tukki 4:10
08 Létt Ma 4:42
09 Dabbaax 5:11
10 Xel 4:52
11 Wake Up (It's Africa Calling) 3:57
Bonus
12 Boul Bayékou 6:08
13 Beugue Dou Bagne 6:19
14 Borom Gaal 3:02
15 Téléphone 4:32
16 Yonou Deuge 5:00

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RhoDeo 1450 A New Hope 01

Hello,

A long time ago in a galaxy far far away...................

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? No way would it work, right?

Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

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Produced by National Public Radio, with the cooperation of Lucasfilm, Ltd.

When this series was first broadcast on National Public Radio in 1981, it generated the largest response in the network's history: 50,000 letters and phone calls in a single week, an audience of 750,000 per episode, and a subsequent 40-percent jump in NPR listenership.

This landmark production, perhaps the most ambitious radio project ever attempted, began when Star Wars creator George Lucas donated the story rights to an NPR affiliate. Writer Brian Daley adapted the film's highly visual script to the special demands and unique possibilities of radio, creating a more richly textured tale with greater emphasis on character development. Director John Madden guided a splendid cast—including Mark Hamill and Anthony Daniels, reprising their film roles as Luke Skywalker and the persnickety robot See Threepio—through an intense 10 day dialogue recording session. Then came months of painstaking work for virtuoso sound engineer Tom Voegeli, whose brilliant blending of the actors' voices, the music, and hundreds of sound effects takes this intergalactic adventure into a realm of imagination that is beyond the reach of cinema.

By expanding the movie's story beyond its two hour running time, the Radio Drama allows us to catch glimpses of Luke Skywalker's life BEFORE the movie. It tells us how Princess Leia acquired the Death Star plans....and what, exactly, happened to her during her interrogation aboard the Empire's battle station...(it is an interesting scene, but not for the squeamish, by the way). In short, by expanding the story to nearly seven hours, characters we loved on screen acquire depth only equaled by novelizations.

The Radio Drama makes extensive use of material written (and in some cases filmed) for A New Hope's silver screen version but cut for editorial or technical reasons. Also, Ben Burtt's sound effects, John Williams' score, and the acting of Mark Hamill (Luke Skywalker) and Anthony Daniels (See Threepio) give the whole project its "true" Star Wars cachet.

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Many of the actors involved in the movie were unavailable to reprise their roles. Mark Hamill and Anthony Daniels returned to reprise their roles as Luke Skywalker and C-3PO respectively. Recorded in 1981 at Westlake Recording Studios in West Hollywood, California.

With among others:
    Mark Hamill as Luke Skywalker
    Ann Sachs as Princess Leia Organa
    Perry King as Han Solo
    Bernard Behrens as Obi-Wan Kenobi
    Brock Peters as Lord Darth Vader
    Anthony Daniels as C-3PO
    Keene Curtis as Grand Moff Tarkin
    John Considine as Lord Tion
    Stephen Elliott as Prestor – more widely known as Bail Organa
    David Ackroyd as Captain Antilles



A New Hope 101 A Wind to Shake the Stars (mp3 25mb)

101 A Wind to Shake the Stars 27:24


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Sundaze 1450

Hello, dramatically overslept today now why didn't i hear that alarm, anyway it threw my plans somewhat. Meanwhile i think i'll have to forego on dinner today...


Born in 1950, Mantra had been creating meditative ambient and drone music—soundscapes designed for "brain hemisphere synchronization," the release of the brain's own mood-relaxing endorphins—for decades. Among his efforts along the way were a series of albums on Silentes, along with a few collaborations with Rod Modell. . ..N'joy

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Once again an artist with surprisingly limeted availble info on his life and work, despite releasing 19 albums, most were'nt even aware that Michael Mantra was a moniker, he's real name was Michael J. Stoffan and besides making music he was an animator as well. Some of his work can be viewed and heared at the Library & Study Center in Culver City, CA. I use the past tense here because earlier this year Michael died, age 64 of cancer, completely broke (Obamacare came too late for him). A sad end to a life during which he tried to enhance all our lives, Michael rests in peace..

Michael Mantra creates ambient music. More than that, he creates tools for "brain hemisphere synchronization" (after synchronizing the mind and the body, Mantra's work claims to release endorphins - part of the human body's natural pharmacy which work at the level of opiates). Mixing modulating high and low harmonic tones (low deep drones and high resonating harmonics) with didgeridoo, ocean waves, rain, water, birds and other natural sounds and instruments, create sound structures that "induce a meditative state that synchronizes brain wave frequencies" or, more simply put by Mantra himself, create "Brain Hemisphere Harmonic Healing". He creates a perfect ambient soundscape for the ultimate relaxation trip.

Michael has been active since the early 90s, Bell Born 1987,  Michael Mantra and John Now - Sonic Transform ‎91, Sonic Satori ‎92 and Sonic Journey in 1994, cassette releases all self released through Tranquil Technology Music these preceeded his vinyl/cd career. Since he released many full-lenght albums on Silent, Hypnos and Silentes. He has also collaborated with Rod Modell on the seminal “Sonic Continuum” and “Radio Fore“, and also with Charlz de la Casa. According to Michael’s own words, “F/C” is an almost minimal atmospheric ambient drone core music but not as minimal as the “A/B” album. With stereo headphones this music is a tool for leveraging a change in states of consciousness and states of feeling. You can use this music as isolationist music. You can use this music in a city to filter out the Industrial Death Drone that consumes the souls of humanity. “F/C” evaporates the Veil of Illusion but with layers and layers of soft noise. If you live in the country you can use this music to trigger a journey to another land within. When I listen to this album I feel I am glad to be alive listening to this music. This album is dedicated to world peace for of all sentient beings.”

Mantra attempts to create sound structures that "induce a meditative state that synchronizes brain wave frequencies" or, more simply put by Mantra himself, create "Brain Hemisphere Harmonic Healing". From the early cassette only releases "Sonic Transform" with John Now and "Sonic Satori" to the CD release on Silent "Sonic Alter" and the brilliant follow-up "Sonic Continuum" with Silent Records contributor Rod Modell, Mantra strives to keep the Ambient "ethic" of the early 90's "chill out" vibe alive.

One of Mantra's last music releases was Mountain/Stream, also known as D/A, a two-track album issued on Silent Season in May 2013 and accompanied by eight versions from artists like Sonitus Eco, Djorvin Clain and STL's Lunatik Sound System. In his memory, the label has now made the album and its versions freely available for download—you can find it over at the Silent Season bandcamp page.

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Radio Fore is a psychoacoustic journey into a deep swirling pool of 40Hz tones and binaural beats. The two extended length atmospheric soundscapes explore the mysterious sonic phenomenon that has been documented at hundreds of UFO sightings. Track one takes you for an overnight stay in North, North-West Puerto Rico, at the Arecibo Observatory. And track two takes you to the sandy shores of Gulf-Breeze Florida in the middle of the night, two places of highly active UFO activity

Rod Modell and Michael Mantra -  Radio Fore  (flac  336mb)

01 Arecibo (Sleeping Under The Big Dish) 31:24
02 Gulf Breeze Sonar 32:18

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Boolean Languages is a dark ambient album that is sombre in approach and mysterious in overtones. A combination of digital and analog synthesizers, musique concrete and drones creates an album that is an ambiedelic brew of sonic excursions into the dark unknown lands within. This album is dedicated to world peace and the end of all suffering for all sentient beings. May you enjoy this album in good health.

Michael Mantra - Boolean Languages (from distant lands within) (flac  227mb)

01 Or For 22:29
02 And For 14:02
03 And Now 13:37
04 There Now 21:02

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A precious sonic masterwork, documenting the extraordinary collaboration between Michael Mantra and Charlz De La Casa. A cd of suspended time and space... 'classical' static music. Two long tracks flow like sonic lava, weaving together lush background washes, and evocative field recordings. Dark electric sounds, beautiful drones, inner-Earth rumbling, human voices, concrete noises, ship engines, sirens, sounds of the sea, bubbles, wind, chants, and wildlife sounds merge in an indefinable (and never before experienced) way... an absolutely unmissable work. As for the house Charlz (servant ?) the cover implies this was a friend with whom Michael explored the depth and breadth of rhythm and sound as a composer, musician and artist. A friend with whom he used to play raves (chill out) in the nineties and who died the year of release 2005.

Michael Mantra and Charlz De La Casa - Cerulean Transmission (flac 290mb)

01 Cyan 22 32:24
02 Cerulean Transmission 31:34

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RhoDeo 1449 Grooves

Hello, well todays artists' discography sees their compilation albums number at almost 9 to one as to their the original output, hence i decided to add the best compilation... ain't that wonderful.

Perhaps no act epitomized soul music as the secularization of gospel more than Sam & Dave. The original pairing of Sam Moore and Dave Prater met in Florida in 1961, and they recorded unsuccessfully for several years before being signed to Atlantic Records in 1965. Atlantic persuaded their Memphis affiliate Stax Records to produce them, and in December that year the writing and production team of Isaac Hayes and David Porter delivered the crisply soulful "You Don't Know Like I Know." Hayes and Porter became the éminence grises behind Sam & Dave, much as Holland-Dozier-Holland pulled the strings behind the Supremes. They wrote, they produced -- and the result was a string of hits, including "Soul Man," "Hold On! I'm Comin'," and "I Thank You," songs that survive as the very epitome of Southern soul. Certainly, Sam & Dave's hits are among the most soulful ever to crack the Hot 100. Their albums often bore the hallmarks of hasty execution, though. The dissolution of the partnership between Stax and Atlantic virtually sealed the fate of Sam & Dave; there were a few more hits (and, later, a revival of interest thanks to the Blues Brothers), but the glory days were over. ...N'joy

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Sam Moore and Dave Prater's early musical backgrounds involved listening to and singing gospel music in their homes and churches, and in Dave's case, also singing gospel in the choir in his church. Dave later sang with his older brother JT Prater in the gospel group The Sensational Hummingbirds, which recorded the record "Lord Teach Me" in the 1950s. Sam recorded "Nitey-Nite"/"Caveman Rock" in 1954 with the doo-wop group The Majestics, and later sang with the gospel groups The Gales and The Mellonaires. Moore and Prater listed Jackie Wilson and Sam Cooke as influences on their styles, and Moore was also influenced by Little Willie John, whom he and Dave opened for often in the early 1960s.
Sam & Dave met working the gospel music circuit, and later in small clubs in Miami during amateur nights in 1961 according to Dave. They sang together one night at the King of Hearts club, and started working together immediately thereafter, developing a live act featuring gospel-inspired call-and-response.

After two singles in early 1962 were released on the local Marlin label owned by Miami's Henry Stone, Stone helped sign them to Roulette Records in New York. They released six 45s from 1962–1964 (two were re-releases of Marlin recordings) with Roulette, and one single on Stone and Alaimo's Alston Label. A few of the singles received regional airplay, but did not achieve national chart success. In summer 1964, Stone introduced the duo to Atlantic Records' Jerry Wexler, who signed them to Atlantic. Wexler asked Memphis, Tennessee-based Stax Records, which Atlantic distributed nationally, to work with Sam & Dave. Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists.

Working with Stax's house band and songwriters/producers Isaac Hayes and David Porter, Sam & Dave created a body of sweaty, gritty soul that ranks among the finest and most popular produced in the late '60s. Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, had world-class musicians who co-wrote (often without credit) and contributed to recordings—the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song. Hayes and Porter are in the Songwriters Hall of Fame, The Mar-Keys are in the Musicians Hall of Fame, and Booker T. & the MG's, Jim Stewart, Isaac Hayes and Sam & Dave are all in the Rock & Roll Hall of Fame.

The duo's 1966 debut, "You Don't' Know Like I Know," kicked off a series of Top Ten R&B hits. "Hold On, I'm Comin'" (R&B#1/Pop#21), released in March 1966, was a monster R&B hit for Sam & Dave, and also their first single to break into the Top 40 Pop charts. The song was named the #1 song of the year for 1966 by the Billboard R&B charts, and spent 20 weeks on the R&B charts in 1966, peaking at #1 in June. In 1988, Rolling Stone named it one of the best 100 songs of the past 25 years. "Hold On, I'm Comin'" received a belated RIAA gold record for one million sales in 1995, 29 years after its release. Sam & Dave's next huge R&B hit was "When Something is Wrong With My Baby", their only ballad single, which was released in January 1967. Stax author Rob Bowman called this "One of the most sublime records in soul music's history", and Mar-Keys trumpet player Wayne Jackson called it the greatest song he has ever heard. The duo's biggest hit and best remembered song, "Soul Man" (R&B #1/Pop #2),[7] was released in August 1967. It was the number #1 song in the US according to Cashbox magazine Pop charts in November 1967. Sam & Dave won the Grammy Award in 1967 for "Best Performance – Rhythm & Blues Group" for "Soul Man", their first gold record. The first single for Sam & Dave in 1968 was "I Thank You/Wrap it Up" (R&B #4/Pop #9). It is one of many gospel-inspired tunes and was a hit on both charts. Critics commented that the B side "Wrap it Up" could have been a separate successful single.

Sam & Dave's live act earned them the nickname "Double Dynamite." Phil Walden, Otis Redding's manager, said "I think Sam and Dave will probably stand the test of time as being the best live act that there ever was. Those guys were absolutely unbelievable. Every night they were awesome." An October 1968 Time article reads: "Of all the R & B cats, nobody steams up a place like Sam & Dave ... weaving and dancing (while singing!), they gyrate through enough acrobatics to wear out more than 100 costumes per year." Jerri Hershey described in Nowhere to Run: They carried red suits, white suits, three piece lime green suits, all with matching patent boots and coordinated silk hankies woefully inadequate to absorb a soul man's nightly outpourings. Both Sam & Dave talk a lot about sweat. To Dave, its proof that he's worked for his pay. For Sam its essential, almost mystical. He says he cannot work without it. "Unless my body reaches a certain temperature, starts to liquefy, I just don't feel right without it." Wayne Jackson said Sam & Dave left puddles of sweat onstage by the end of a performance.

However, the duo's career began to unravel in 1968, when Stax's distribution deal with Atlantic ended. Since Sam & Dave were signed with Atlantic, not Stax, they no longer had access to the production team of Hayes and Porter or the house band of Booker T. & the MG's, and their recorded work took a slight dip in quality. Though the switch of labels was unfortunate, what really caused the duo's demise was their volatile relationship. During the '70s, Sam & Dave reunited several times to little attention. At the end of the decade, John Belushi and Dan Aykroyd's Blues Brothers routine -- which borrowed heavily from Sam & Dave -- sparked a resurgence of interest in the duo, and the pair performed a number of concerts during 1980. However, their personal animosity had not faded, and they separated after a performance on New Year's Eve 1981. For the next few years, Prater toured as Sam & Dave with vocalist Sam Daniels. During the mid-'80s, Moore revealed the sources of the duo's tensions in a series of interviews. He disclosed that he had been addicted to drugs during the '70s. Prater was arrested in 1987 for selling crack to an undercover policeman. A year later, he died in a car accident. Moore continued to perform sporadically, most notably on Bruce Springsteen's 1992 album Human Touch album. Sam & Dave were inducted into the Rock & Roll Hall of Fame that same year.

Today's artists were also famous for having a very tumultuous partnership during most of their 21 years together. According to Moore, they did not speak to each other offstage for almost 13 years. During the 1970s, they broke up many times, and would typically show up separately for shows, require separate dressing rooms, not look at each other onstage, and communicate through intermediaries. They also had performances in the 1970s where only one of them would show up. Moore describes personal issues with Prater, drug use, touring fatigue, and a desire to do his own act with new material as contributing to their break-up. Dave Prater attributed their rift and break-ups to Moore's frustrations in wanting to do his own act and diversify from having to perform the Sam & Dave song catalogue over and over

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When the Northern soulsters of Motown were employing strings and pop elements, Sam & Dave rejected pop wholesale and made sure they kept their Memphis soul simple and raw. Their albums never sounded heavily produced, and therein lies much of the appeal of Hold on, I'm Comin' (their first album for Atlantic). This duo didn't believe in hiding behind lavish productions. Like the blues and gospel artists who paved the way for soul music, Sam & Dave knew how to seize the moment. From such major hits as "You Don't Know Like I Know" and the title song to solid album tracks like the riveting "It's a Wonder" and the tough yet vulnerable ballad "Just Me," this album epitomizes Memphis soul in all its unpretentious, down-home glory. [A song-for-song reissue of the original LP, the CD version of Hold on, I'm Comin' that Atlantic put out in 1991 is rather skimpy by CD standards (as are the CD versions of Soul Men and I Thank You). Certainly, Atlantic could have provided some bonus tracks. In 2006, the Collectables label gave it a straight reissue again.]

Because R&B was such a singles-driven market in the 1960s, many albums released by Stax and Motown were big on filler. But that generally wasn't the case with Sam & Dave's albums, which boasted many gems that weren't released as singles and enjoyed little, if any, radio airplay. Listeners may be surprised to learn that as popular as this twosome was in 1967, Soul Men contains only one major single: the anthemic title song and its B-side, the charming "May I Baby." Among the first-class album tracks never released as singles were "Rich Kind of Poverty," the punchy "Hold It Baby," and the gospel-drenched ballads "Just Keep Holding On" and "I've Seen What Loneliness Can Do." As was customary, the team of Isaac Hayes and David Porter wrote the hits, and Hayes' production was so utterly sympathetic in capturing the tough, swaggering singing styles of both Sam Moore and David Prater that he surrounded them with punchy, driving arrangements by the Memphis Horns, Booker T. & the MG's, and the studio aces at Stax. Hayes pushed the level into the red on a number of these tunes, making for dynamite performances from the duo. This is one of these records that feels live because of its crackling energy. For those with more than a casual interest in Memphis soul, Soul Men is highly recommended. The Soul Men LP (October 1967) was Sam & Dave's third Stax LP, reaching #5 on the R&B charts and #68 Pop.[8] Musicologist Rob Bowman called Soul Men "One of the greatest soul music albums of all time."

Sam and Dave - Hold On, I'm Comin' / Soul Man (flac 349mb)

Hold On, I'm Comin'

01 Hold On, I'm Comin' 2:35
02 If You Got The Loving 2:35
03 I Take What I Want 2:35
04 Ease Me 2:26
05 I Got Everything I Need 2:59
06 Don't Make It So Hard On Me 2:51
07 It's A Wonder 2:55
08 Don't Help Me Out 3:09
09 Just Me 2:43
10 You Got It Made 2:36
11 You Don't Know Like I Know 2:42
12 Blame Me (Don't Blame My Heart) 2:20

01 Soul Man 2:36
02 May I Baby 2:38
03 Broke Down Piece Of Man 2:46
04 Let It Be Me 2:45
05 Hold It Baby 2:35
06 I'm With You 2:50
07 Don't Knock It 2:28
08 Just Keep Holding On 2:52
09 The Good Runs The Bad Way 2:15
10 Rich Kind Of Poverty 2:13
11 I've Seen What Loneliness Can Do 2:58

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This was the second Sam & Dave album to enjoy significant crossover appeal. The 1967 record included such hits as "Said I Wasn't Gonna Tell Nobody," "Soothe Me," and "When Something Is Wrong with My Baby." Isaac Hayes and David Porter were now rolling as songwriters, and even though the record didn't attain big pop numbers, the singles clicked with both soul and pop audiences. More importantly, Sam & Dave's teamwork and vocal interaction were establishing them as major stars.

Sam and Dave - Double Dynamite (flac 297mb)

01 You Got Me Hummin' 2:46
02 Said I Wasn't Gonna Tell Nobody 2:36
03 That's The Way It's Gotta Be 2:34
04 When Something Is Wrong With My Baby 3:14
05 Soothe Me 2:30
06 Just Can't Get Enough 2:01
07 Sweet Pains 2:33
08 I'm Your Puppet 3:03
09 Sleep Good Tonight 2:40
10 I Don't Need Nobody (To Tell Me 'Bout My Baby) 2:55
11 Home At Last 3:03
12 Use Me 2:30

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Sam Moore and Dave Prather were the ultimate soul duo; one a high-voiced wailer, the other a low-toned blaster. They came together in the mid-'60s to form a superb duo, singing tunes penned by soul's finest writing tandem, Isaac Hayes and David Porter. They made a host of great singles before ego battles broke them apart. This 50-cut, two-disc anthology not only has every song of significance, but plenty of obscure worthwhile items, like a "Stay in School" promo, some overlooked material done with the Dixie Flyers, and a couple of numbers cut by Moore as a solo act in the early '70s. The sound quality, annotation, and song sequencing are as outstanding as the songs themselves, in this case at least, more is more....

Dave and Sam - Sweat 'n' Soul: Anthology (1965-1971) (flac 593mb)

01 A Place Nobody Can Find 2:58
02 Goodnight Baby 2:47
03 I Take What I Want 2:34
04 You Don't Know Like I Know 2:41
05 Hold On! I'm A Comin' 2:38
06 I Get Everything I Need 2:58
07 Don't Make It So Hard On Me 2:47
08 Blame Me (Don't Blame My Heart) 2:25
09 You Got Me Hummin' 2:52
10 When Something Is Wrong With My Baby 3:19
11 Small Portion Of Your Love 2:40
12 I Don't Need Nobody (To Tell Me 'Bout My Baby) 2:58
13 That's The Way It's Gotta Be 2:40
14 Said I Wasn't Gonna Tell Nobody 2:39
15 Soothe Me (Live) 3:00
16 I Can't Stand Up For Falling Down 2:43
17 Toe Hold 3:00
18 Soul Man 2:41
19 May I Baby 2:42
20 Just Keep Holding On 3:04
21 The Good Runs The Bad Away 2:18
22 Rich Kind Of Poverty 2:16
23 I've Seen What Loneliness Can Do 2:56
24 My Reason For Living 2:40
25 Stay In School (Public Service Announcement) 1:13

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201 I Thank You 2:47
202 Wrap It Up 2:33
203 Broke Down Piece Of Man 2:57
204 Hold It Baby 2:39
205 Come On In 2:55
206 This Is Your World 2:28
207 You Don't Know What You Mean To Me 2:12
208 Everybody Got To Believe In Somebody 3:16
209 Can't You Find Another Way (Of Doing It) 2:27
210 Ain't That A Lot Of Love 2:44
211 Don't Turn Your Heater On 2:19
212 Soul Sister, Brown Sugar 2:31
213 Born Again 2:40
214 You Left The Water Running 3:08
215 Holdin' On 2:39
216 I'm Not An Indian Giver 2:35
217 One Part Love  -- Two Parts Pain 3:09
218 Baby -- Baby Don't Stop Now 2:31
219 Standing In The Safety Zone 3:16
220 Knock It Out The Park 2:34
221 Don't Pull Your Love 3:18
222 Jody Ryder Got Killed 2:42
223 Starting All Over Again 3:44
224 Stop (without Dave) 3:09
225 Shop Around (without Dave) 2:52

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